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HOW TO MAKS AHS RSPRODUCE POSTERS 



•US; OFFICE OF WAR IITFORIIA^TIOIT 
GRAPHICS EIYISIOIT 


TABLE OE COM)EETSj 


I. Introduction 

II. Designing a Poster, by 

Thomas M. Folds, Art Dircctor,^ 

The Phillips Exeter Academy^ 

New Hampshire • • • • 

III. Silk Screen Oolcr Printing, by 

Harry Sternberg, Art Students League^ 
Now York (3ity 

lY. Linoleum ^ir V/ood Block Printing, by 

Will Barnet, Art Students League, 

New York City 


Y. Cut-Out Stencil Printing, by 

Anthony Yelonis, Technical Director of 
Creative Printma,kers G-roup, 

New York City 



For additional copies address: 
Office of War Information 
Craphics Division 
250 West 5?th Street 
New York City 

Attention: Betty Chamberlain 


. 115 . 5 - 

j *2.,- 

I I ; : : . HOW-TO MAKS Al® RSPRODUCE post:®S 

A poster is any kind of placard which gives information or tells 
people to do certain things. Anyone can make a poster. The simplest 
poster is^ alv^ays'the’most effective . An SXIT’ sign in a movie house 
is a simple form of poster. A poster may he made hy the use of con¬ 
trasting hold white 'letter s on'a bright red background. But a picture 
on a poster w^ll-attract more attention, and if properly handled will 
make'a poster look moreporofessional. 

# • 

Pictures may he taken from magazines, from hooks, from Government 
pamphlets, to he pasted on posters. They may he reproductions of photo¬ 
graphs ,• drawings , cartoons, comic strips. Snapshots may often he use¬ 
ful, particularly in making local appeals through local and familiar 
scenes and people. If-these pictures are not large enough for use on 
a 7 DOster, photostatic enlargements may he made to any size required for 
pasting on the poster. A picture for a poster v/ill he more dramatic if 
the background.of this pictureespecially when not a planned or inten¬ 
tional background, is cut away leaving a silhouette of the main portion 
of the picture. Also a picture of irregular outline, superimposed on a 
rectangular poster, is more•offactive than one rectangle superimposed 
on another, • 

Words should generally he kept at a minimum on a poster. The main 
message should he 'short and in large’ lettering, • Know how many words are 
going to he used on the poster and plan'the poster and the relative 
sizes of lettering accordingly. Gummed paper letters, whrre available, 
may he pasted onto the poster. Or wooden letters may he used as models 
from which to trace letters on cardboard or heavy paper to cut out and 
paste on poster. Or the vrooden Ict’t-rs may he traced directly onto the 
poster to'he filled in with color'or ink. Or letters ma^^’he made hy 

the-cut-out stencil method (see page 21. ). For posters requiring more 

information, the message he typewritten and pasted on the poster. 

If desired the typewritten sheet may he photostatically enlarged. In 
some cases 'the 'photostat' negative, -sho'wing white lett'^rs on a black 
background, is more effective than a'positive, A negative‘is less ex¬ 
pensive than a positive. Posters carrying’more than a fev/ v^ords of in¬ 
formation should only he displayed in places where people are likely to 
he close to them for a while, such as hesid'e cesh registers in markets. 


Samnle Process ; - .. 

* * ■ 

As an example it may he decided that a poster is required to em¬ 
phasize the need for sharing automobile rides. A 14 x 22” cardboard 
might he purchased in yellow for'use With black lett-ring. Such a 
contrast in color makes the postf'r attract attenti'hh'. 







The major functions of this postrr should be considered before any 
work is done. In this case the first function is to put over the idea 
of sharing a car. Hence the words ”SHAR3 YOUR CAR^^ should be prominent— 
the largest lettering on the poster. 

0 

The second function is to stimulate this idea pictorially. A mag¬ 
azine picture or a snapshot may be obtained showing four or five people 
getting into a car, or sitting in a car with the top down so it can be 
seen that there are several people. If it is possible to obtain a photo 
of someone who regularly shares his car and who is known in the community, 
this will lefiii p<^rsonal interest to the appeal. 

The third function is to give specific information on car pools in 
the community. This may be of a general nature such as the fact that the 
rationing board will allow extra gas if two extra people are transported 
to work daily. Or it may say “V/HSTHRR YOU HATO A CAR OR HOT, IF YOU WAHT 
TO JOIH-A CAR POOIi SFE THS CIVILIAl.’ T)RF?]1'IS3 COUNCIL, 122 MAIN STRERT,’' 

This lettering should be much smaller than the “SHARE YOUR CAR“ lettering, 
for attention ha.s already been attracted by the major statement of the 
theme and those interested will read farther. 

The poster is thus divided into three parts. These may be ap-arox- 
imately equal parts, or it may be desirable to give more space to the 
picture. There is no fixed rule regarding this. 

The 12 X 22“ cardboard, used vertically, might be divided as follows: 

6 X 14“ at top for the large lettering "SHARE YOUR CAR;“ 10 x 14" in 
the middle for the picture; 6 x 14“ at the bottom for the specific infer- 
mation. 

Mark out the large lettering roughly on a separate sheet of paper 
measuring 6 x 14", and v^ork with it until the lettering fits into that 
space. Then trace or copy the message onto the poster cardboard to fill 
in vdth black ink. 

From a horizontal snapshot have an 11 ;x; 14“ photostatic positive 
rhlargement made. V^en this is cut out in'silhouette form it should fit 
effective];^y into the 10 x 14“ space. . < 

Type the specific information in tv;o or three different -ways using 
different widths and numbers of lines and see which one looks best when 
laid on poster. If tjrping is not large eu-^ugh, get a photostatic negative 
enlargement, perhaps three times the original size. Out out a neat... 
rectangle leaving some black margin around the v/hite lettering on the 
negative. 

Before pasting down or inking in any of the poster parts it is ad¬ 
visable to lay them all 9 n the board to see how they look-and to shift 
their positions until the best arrangement is found. Then mark lightly 
with a pencil just where the edges of each should be pasted down^ 


MrtTrials and' Costs 


3 ^ 


Pictur B.s : Practically all illustrated magazines are full of pictures 

relating to the war anid the war effort. In general those in hlack and 

white reproduce hetlipr photostatically than those in color. 

•• • • *■ 

The following illustrated vrar pamphlets may he obtained at public 
libraries or free on request from the Division of Pablic Inquiries, 

Offi ce of War Information, Washington, D, C^« 

’’Tale of a City’^ ’’The Unconquered People” 

’’Negroes and .the W.ar” ’’Divide and Conquer” 

"’’Consumers’ Guide,” a 16~page pamphlet published monthly by the 
Department of Agriculture, is liberally illustrated with good photo¬ 
graphs of war on the home front.and abroad. It may be obtained from 
the Superintendent of Documents, Government Printing Office, Washington, 
D, C. for 5 cents a copy, or’50 cents a year. Postage stamps will not 
be accepted in pa:/ment. For list^ of other Government war publications 
address^ the Superintendent- of Documents. 


Photostats ; Most public libraries have the equipment for photostat 
service. _ Average, nrices are as follows: 

_ . Negative Positive 


8 X 10 

11 X 14 
14 X 18 



2b(f 

Zb/f 

35^ 

bO<f: 

bO(f: 


Photographs ; Commercial enlargement of photographs is expensive, and 
materials are scarce. Where amateur photographic enlargement equip¬ 
ment is available, home-made enlargements are less expensive and may 
be better than photostatic enlargements. 


Cardboard ; One way of obtaining post'^r cardboard is to collect out-of- 
da,te posters from stores and movie houses, and use the rev-rse sides. 
Sheets of colored cardboard can be purchased in ^ordinary paint and 
hardware'- stores for about 5 cents for 14 x 10 cents for 28 x 40”. 

For larger posters, wrapping pap‘:^r is sturdy and serviceable. 







-4 


Lettering : Guraned paper rlphalDcts in iDlack or white can he purchased 

in many stationery stores for about 5 cents for an envelope of 10 let¬ 
ters up to 1 inch in height; running up to a 4-inch size at 20 cents 
for an envelope of 10 letters. 

Wooden letters are found in raamy 5 and 10-cent stores and toy stores 
at about 5 cents apiece and up, according to size. Any Jigsaw aiaateur can 
easily cut out a wooden alphabet. . 

Home-made model letters-can be devised by mounting newspaper head¬ 
line letters on cardboard and then cutting them aut. 

. \ { 

Where lettrring is inked in black, waterproof ink should be used 
for'posters to be displayed outdoors. 

Colors ; Poster colors can be bought in loelnt stores and stationery 
stores and toy stores for about 10 cents to 25 cents a Jar, depending 
oh size and quality. For outdoor display use non-bleed post-'r colors, 
which are fairly resistant to vreathoring, A coat of clear, light var¬ 
nish over the entire surface will help to make the poster weather-re¬ 
sistant. 


Paste ; To affix photostats, lettering, etc. to poster cardboard, a,ny 
kind of library paste, glue or mucilage may be used. For large areas 
wallpaper paste is useful. Real rubber cement is now almost impossible 
to obtain, but* there are sev<^ral similar substitutes oh the market. In 
using rubber cement, apply it to both surfaces and allow to become nearly 
dry before sticking the surfaces together. The affixed surface can be 
removed if it is necessary subsequently to change its position. Any 
residue of rubber cement can readily be cleaned off when dry by rubbing 
it with the finger. Rubber cement substitutes can be purchased in 
paint and hardware stores and in photograph supply stores .at about 25 
cents for a large tube. . h • 





- 5 -- 


II. DKSIGNIHa A POSTER 


Main Types of War Posters ; 

« 

„ • * 

(1) Post ers .which persuade the ci.Vilian to adopt 'his country’s 

war ideals as his own .... ■ ' 

This type of poster attempts to develop a state of mind, 
such as love of democracy, pride in one’s'^ country, hatred of tjnran- 
ny, or it may help to sustain morale on the'home front. But it 
does not necessarily tell the spectator to do anything and £or this 
reason needs the hacking; of . other posters which call for dii^ect Ac¬ 
tion. , ♦ • ' ■' 'i ■ . . 

' ‘ ■ * 

( 2 ) ' Posters which persuade the civilian to .contribute towards 
the achievemont oi* his country’s war ideals .... 

Hero the appeal is moire specific, leading directly to prac¬ 
tical action. The civilian is asked to join in the war effort hy 
contributing vital commodities,-avoiding industrial accidents, with*- 
holding information from the enemy, buying war bonds, helping Ameri¬ 
ca prodtLcc in the factory or on: the farm, helping to wipe out the 
black market, absenteeism, etc. 

( 3 ) Posters which give specific information to the civilian .... 
Once the civilian is aroused to^action, he must be told how and 

when and where to-act efficiently. These are fpllow-up posters 

offering instruction, ' ; 

• ! < * - 

Posters of the latter; two types' are those most needed in 
the G-overnment’ s community graphics program. 


Timing Posters Accurately ; . • ; 

Many posters are ineffective because they ,arh displayed at the 
wrong moment. Posters’urging people to save metal, for example, 
should be spaced well in advance of the day collection begins, and 
the day itself phould be announced at least a week in advance, if 
possible. In other ..words,, the artist should get in touch with 
local war publicity'officials a.nd pla.n hi‘s’ posters as part of a 
campaign'. ' ’ 


*» . ■ ■ » 

*•. ' * 







- 6 - 



EXAliPLE OP A POSTER CAl'IPAIGN 

Posters Are Most Effective When Correlated With k Local Caiapaign 














































~ 7 ^ 


Placing Posters Effectiively : 

Posters should he placed where they reach the kind of audience 
or which they are intended. Some may have an appeal meant for all 
people, hut a great many used in this war are intended primarily 
for certain trades or groups or age-levels. Obviously a poster 
meant for factory workers should he placed whore factory workers 
can see it frequently,- 



The war poster should dominate surrounding displays. Unless a pos¬ 
ter is simple and dramatic most people will pass it hy. When a war 
poster is placed in a store window, it must often compete with stag¬ 
gered rows of merchandise and advertising signs. If similar over¬ 
lapping rectangles.clutter up the poster’s own’ design, it merges 
with other material on display. To compel attention the poster must 
he simple, hold and forceful in pattern—-stripped of all unnecessary 
reading-matter, insignia and other devices which do not contribute 
directly to the main idea. . . 








































































Emphasi zin is: jt Main J.,d^a: 


The most important,aim of any poster is to get across its message 
siimoly and clearly. To do this it must concentrate on the central 
idea and emphasize the main action. 


Figure 1 fails to achieve this aim “because the picture is too 
small. Is the woman shown here putting up a picnic lunch or is she 
saving old tin cans? The lettering a“bove tells the story incomplete¬ 
ly; the picture explains the rest—i f the spect ato r will taXQ 
tr ou'ble t o look at it carefully . Most people, however, are too “busy 
to sto'o to hunt for detail’s. 

Figure 2 shows the picture enlarged, emphasizing the important 
details. Note that the lettering is no longer overpowering' and 
that it is grouped off to the lower right to “balance the off-center 
mass of the v;oman’s figure on the left., 


Figure 3 shows a further step in simplification,.offering a 
close-up of the essential action. This poster might “be used effec¬ 
tively in a campaign as a follov/-up to the one in figure 2. 






WEMim 


I (/' 





■i</- 

iiinuiiinilincTc 


Maxing Pictur e an d Lei faring Pu ll Toge ther: ’ 

The quickest, most efficient method of organizing the poster’s 
design is to make a rough ’’layout, ” small enough so that mistakes 
can he easily corrected. To save time and trouble,,lettering can 
he indicated merely hy abstract lines. 

When both picture and lettering are organ!zed'into a compact 
pattern, the spectator will remember them as a single impression, 
just as he does the details of a simple trade-mark. 





































































III. 


~ 9 - 


SILK SCHE3N COLOR PRIITTIHG . 

^ > 

Silk screen is a method for producing posters, simply and in¬ 
expensively, in the home, the classroom or the studio. ’ As few. as 
ten, or as many as a thousand can he made. Posters can he printed, 
with one, two, three, or as many colors as are wanted. 

The technique is easy to learn and to teach to others. The 
cost of the equipment is very small. " Printing can he done on any 
paper. No special technical knowledge or ability is needed. Hun¬ 
dreds of posters can he printed in tv;o days hy two people. 


This is a logical medium for the teacher, the student and the 
artist to use in producing war art for local community.needs. 

An Outline'of the Process : 

A full size drawing of the poster is made. This is used as 
a guide or ’’master drawing” for making the finished posters. 


The stencil for the first color 
is made on the-printing, fraiae , and-then 
the first color is printed on as many 
sheets as are needed. 

t . 

The stencil and ••the printing 
paints are cleaned off -the print- ^ 
ing frame. • 

The stencil for the second 
color is then made, and the sec¬ 
ond color is then printed. 

The process is .repeated for 
as many colors as are wanted. 



SEND VOUR 


SIIKST0CKIN6S 



Master Drawing 


F W O ' Y O (11? 



h. .1 » .11 ^1 .. I -.. 


First** stencil vriiow Second stencil -red Third st^^ncil blue 


























- 10 - 


The Printing Frame, Constructin g thr Printing Squijpj^enj:; 


Completely "built printing frames can "be purchased from most silk 
screen supply houses. It is relatively simple, however, to construct 
your own. 


Four pieces of 2 x 2” wood arc firmly 
screwed together. The*inside measure¬ 
ment of the frame should "be 4” larger 
than size of posters. 


A piece of st-encil silk ("bolting cloth) 
or organdy is tacked to "back of frame 
and should "be stretched taut. 


Book'bindcr’s tape is pasted around 
inner side of frame - half on wood, 
half on silk >^-as illustrated. 



Using pin hinges, hinge frame to a 
base ~ a drawing board, a sheet of 5-ply 
wood, or a- table top may be used. Place- 
piece of 1/8” cardboard under hinges 
on baseboard. 


* 

Screw an 8’’ leg (a piece of wood 1x2) 
on one side gf frame. Leg should swing 
loosely. . * ‘ 







Remove pins from hinges. Give tv\ro coats of shellac to baseboard and 
printing frame, covering glue tape and all wood. When dry, wet silk 
with cold water. This will stretch silk tight. ... ... 


The Printinis: Paints ; 

Any ink or paint that is fluid enough to go through the mesh of 
the silk can be used. If the paint is too thick it will not flow 
through the mesh of the silk. If the paint is too thin it will run 
under the silk and spread. Only five basic colors are essential: 
black, white, yellow, red and blue. 

Commercial silk screen printing paints are recommended.' These 
are quick drying oil'paints. Two commercial media are available for 
use with these paints: 




















































~ 11 


1. ^Transparent Base” is nixed with the- printing color to 
make it more transparent, 

2. ''Reducing Varnish” is mixed with the paints to make the 
color fluid enough to flow through the silk, yet keep 
the color- opaque. < 

Regular commercial kouse paints can he used \nth the 
above media. 

The proportions of the media to the amount of color varies 
with result desired. Experiment to work out suitable propor¬ 
tions of color and medium. 

To start ,^ try following formula: ' 

1 water glass of transparent base ■ 
l/lO water glass, of color 
- , 1. tablespoonful of reducing varnish 


The Stencils 


1. The Pa pe r . . R attern; The "master 
drawing” is placed on the baseboard, 
under screen, and is used as a guide 
in registering stencils. 

Mark position of master drawing 
carefully on baseboard, using scotch 
tape or ruling corners. 



Trace on any thin paper, pattern for 
first color. Cut out these patterns 
with razor blade or knife. 



Place pattern in position over "mas¬ 
ter drav/ing.”; Tack pattern to back 
of silk with scotch tape. Remove 
"master drawing." 


Pattern is now ready for stencilling. 



2 . The Glue-out Stencil This is a 
coarser stencil technique, but ..offers 
interesting textural possibilities. 
Use LePagcs Full Strength G-1 uq> Mix 
50fo glue and 50^, cold water. Stir. 


Register master drawing in position 
on baseboard under silk. 





































12 - 





With a pencil lightly trace the sten¬ 
cil shapes desired on the silk. 


Raise screen from baseboard with 
block so that when glue is applied 
it will not stick the screen to the 
baseboard. 


Using a watercolor brush, paint the 
glue mixture over the silk all around 
the stencil shape desired. Keep 
, screen flat until glue dries. Use 
electric fan to speed drying. 


Stencil is now ready for printing. 




The Tusche Method ; This is the 
most complicated, but the most flex¬ 
ible method of making a stencil. 


Register master drawing in position 
on baseboard under silk. 


Using lithographic tusche, (litho ink) 
paint on the silk the stencil shape 
desired. 


Litho crayon can also be used on silk 
to get a varied texture. 


Lift screen off baseboard with a 
block and wait for tusche to dry. • 



Pour glue mixture (50^ glue' 60^" 
water) on one corner of screen, . 
Spread glue thinly and.evenly, ■: 
using any piece of cardboard or thin 
wood with' a flat‘end, over the whole 
screen. When first coat of glue 

dries give screen a second coa.t of 
glue,' ..... , ^ 






















































- 13 - 


* 


Ir^en glue is dry, place several 
sheets of nev/spaper under silk. 
Pour benzine or kerosene on face' 
of screen. ScruV front and back ’ 
of screen with a-rag. ‘Sone of 
tusche stencil will' begin to‘wash 
out, ' ^' ■' • ' 

Pour more benzine or kerosene on 
silk and scrub design out vrith a 
nail brush, Tusche stencil will 
wash out of' silk' and glue will- • 
crack off drawing,' ' 

This leaves an open stencil for 
printing. ■ ' ’ ' -• . • • . 

Printing . ■ ’ • .• 

Registering the Paper ; Place a 
sheet of the printing paper in 
position on baseboard under 
stencil. 

Using 1 X 3” strips of cardboard, 
tack three '’registration strips” 
into’ position. ‘ These serve as 
checks to keep printing paper in 
"registry,” 

Nov/ you are ready-to proceed with' 
the printing. ■' 



The Printing Squeegee : ‘ This'is 
very much like a window•• cleaner' s • 
implement. 'It C(5hsists of a 
heavy rubber blade sot in a wooden 
handle. ■ ■ j - . . * . ■" 

The squeegee should'‘be'wide enough' 
to cover the entire drawing In ’ ’ ^ 
one stroke. " '• 





Spread a generous supply of the - 
mixed printing paint along edge of 
screen. 

Tilt squeegee as illustrated and 
drag paint once across screen. 

One sweep, with even pressure, 
gives a print. 

t • • * ■ I . • t 

Remove print, register another sheet 

of paper in position, and repeat for 

as many prints as are wanted. 

» ^ 
















































~ 14 - 


General Information . — , 

* * * 

Care of Equinmen t; The silk on the printing frame will keep in good, 
condition for thousands of prints if proper care is taken in hand¬ 
ling and keeping it clean. After each color is- printed, clean the . 
screen thoroughly . removIBng every drop of paint and glue. Once any. 
paint dries into the screen and gets a chance to set, it cannot he 
removed. 

The squeegee too should he carefully and thoroughly cleaned be¬ 
fore it is put away. 

Mixtures of paint left over after printing can he kept indefi¬ 
nitely for future use hy pouring a thin film of ^reducing varnish” 
over such mixtures. This forms a protective film that ean he cut 
away when paint is to he us4d again. 

Paper for Printing ; Any paper can he used. A fairly stiff hoard la 
more desirable because it is easier to register, hut it is important 
to emphasize that prints can he made on any paper, even paper used . 
in shops for wrapping will give a good print. 

Drying Prints : For small editions, prints can he strewn around the. 
room to dry. For large editions, a string can ho strung across the. 
room and the prints hung from this string with clips. 

Each color dries fairly quickly after it is printed. Usually 
one can print over a color in about an hour. For a col<fr to dry 
completely, prints should he left to dry over night, i 


Materials and Costs ; 

Silk is now hard to obtain, hut silk organdy (about $1.50 per 
yard) or cotton organdy (about 85 cents per yard) may he suhsti- 
tuted. 

Printing frames may he purchased in various sizes, A, good- size 
for posters measures 20 x 24” outside, 16, x 20” inside and may he 
bought for about $1,75. Base hoard and hinges do not ofme with this 
frame, . , , , 

I .* • . 

Squeegee in a 12” size, suitable for use with above frame size, 
costs about $1.20, 

Transparent base costs about 70 cents for a quart can. 

Reducing varnish costs about 70 cents a quart., . ...... 

Primary printing colors sell for approximately the following - 
figures per quart: 

red $1,65 . \ . 

ro 2 /al blue 1.40 

. .medium yellow 1,40 

black 1,10 

white 1.15 ... 


For more complete treatment of this subject, see Harry-Stern¬ 
berg’s book ”Silk Screen Color Printing,” published by tho^'McGraw- 
Hill Book Cf. 










IV. LlNdiiiai^ OH yoot> block phIktiko 

Printinif< in Black and White ; 

Linoleuu or wood-cut is a simpleinexpensive method of printing 
quantities of Booklets or’posters in ‘black-.-and-white or in color. 

The process is known as relief printing. The materials are simple, 
and the cutting and printing can Be handled 'by child or adult. 

For cutting and printing it is necessary to have either: 

• ’ t 

(a) Linoleuja mounted'on wood or unmounted. 

\Vhen mounted it is easier' to use on a Block 
press, \7hen unmounted, an old-fashioned 
clothes v;ringer is useful in printing from 
linoleum Blocks. Linoleu^u is soft and easily 
cut material, therefore is Better for childr^-n^s 
use than wood. •' 



(B) Wood Blocks, Any plank wood (usually 
1’’ thick) planed from a lumBer yard and cut to 
desired size. It is necessary to plane the 
wood to give it*a smooth printing surface. 

The advantage of wood is tliat,/Being a harder 
material, it can give a sliarper and finer line 
and will stand up under greater pressure and 
longer printing. - - 



i ^ ■ . 

Drawing on the Block : 

The sketch may Be" drawn free-hand with pen¬ 
cil directly onto Block. ■ ' 


Or the sketch may Be traced onto the Block. 
To trace, ruB pencil or powdered chalk over the 
Back of the drawing. Lay the chalked surface on¬ 
to the Block. Secure the drawing to the Block 
with scotch tapt). ‘Trace the drawing with a 
licord pencil. This will transfer the image to the 
Block, 


The dra^wing ma^.^ Be inked in with a Brush 
to define' the large areas of dark and light. 

The inked-in sections will Be those which should 
remain. The light are;as are to-Be cut away... 































ig—n 



Cutting: the Block ; 

Tools , Knife, chisels 
and gouges are used for cut¬ 
ting. The knife is the prin¬ 
cipal tool for cutting lines 
and curves. The chisel and 
gouges are used to clear away 
large areas. 

The “block must he cut 
deep enough so that when ink 
is applied, the cut out parts 
will not take ink. -Usually 
1 /8’* is sufficient depth .In . 
cutting, although sometimes^. 
it may .he necessary to, cut., 
deeper. It is hest,to test 
the cutting hy male:' ng a trial 
proof. \Jhen cu; ‘ing, care must 
he taken that the line cut slopes 
on. both sid.es, sq, .that .it has a 
firm foundation.,', . i... 

, ..,, Slab .. A 1 arg.e glass*.pj’ate 
for* roll!ng,. out ,irik .anA colors. 

.. .. Eoller"...,. A,.rubber or .'compo- 
sition roller is .used to apply the 
ink or color 'to the blocks."'* A 
large roller is more serviceable 
as it can be used for both.large 
and small blocks. A roller ‘can 
be. made with a wooden cylinder 
wrapped in a .thin sheet of rubber 
or linoleum with a wire running 
through the cylinder to serve as 
an axis and a handle for the 
roller. . 

Paper . Any paper may be used. 
Absorbent ^ paper may be used *,dry; 
stiff.or thick paper should be 
so.^ed or sponged with water, then 
blotted off to make paper more 
pliable for accepting ink. 

Printing the Block : 

.. Inlcing Bloc k: . Care must be 
taicen to roll out the ink evenly 
with roller on glass slab before 
inking the block. Then roll over 
entire surface of the block. 





























~ 17 ^ 


E^nd Printing . Placn shoot 
of printing pa.por on inkod block 
and then press with a tablespoon', 
using a suooth, even rotating 
motion. 

Whore available a block press 
may be used for largo quantity 
printing. The block is placed, 
face up, in the. press, r sheet of 
paper is placed on it and then the. 
press is tightened. 



Drying Prints . Prints may be 
dried by simply hanging them on a 
line with clips. 

Cleaning Blocks , \7hen fin¬ 
ished, printing blocks should be 
cleaned v/ith turpentine, or ben¬ 
zine. 


Color.Block Printing 

In color printing, registration becomes very important because 
if the prints frpm two blocks.or more do not exactly .match, the linos 
or colors become confused and irregular in the printing. 

Master Drawing . First make a drawing in color in finished form. 
This is used as a guide for making the finished print. 

Key Block . A key block is cut (this usually consists of the out¬ 
line of the dra\'/ing, made up of the darks, bl'acks or deep colors). 

The rest of the. block is cut a.way leaving this outline as the only 
raised portions of the wood to receive the ink for printing - the rest 
of the block will come out blank. 

Transfer of key blo ck to othe r 
blocks . Make a registry right angle, 
out of two strips of wood joined to¬ 
gether to form a right angle and nail 
onto a sheet* of stiff cardboard. 

These right angle strips of wood should 
be about 1/8” less in height than the. 
thicKness of the printing block. 


To make transfer from key block 
to printing pa.per,, tack paper onto top - 
of wood angle with the side of•the . 
paper to be printed turned face down. 












































18 


Roll up key block with printing ink heavily applied. . Slide key block 
under printing paper and print with spoon or press. Remove key block 
and slide in each of the other blocks which are to be cut for color 
impressions. Apply spoon or press to each. The inK from the paper 
will be transferred onto the blocks so that each v;ill carry the same 
impression as the key block. Using tho master drawing as a guide, 
assign one color to each block and cut out as required. In case 
colors do not merge, it is possible to use more than one color on a 
block. 

$■ 

Obviously by leaving a sheet of printing paper tacked in position 
on top of the right angle and by sliding each block one after the other 
tight against the right angle, the color registration in -printing will 
be exact. 



Rollers and inking for each 



color . It-is desirable to have a 
roller for each color used, One 
large, slab of glass is sufficient 
for rolling out several colors. 

Ink up lightest color block 
first, mediuia color next, etc. 

The key block or black block is 
the last one to be printed. It 
is usually used to tie together 
all the other colors and forms.- 
In lifting the pa.per after'print¬ 
ing, pull up one corner first and 
remove gently to avoid tearing. 


Master 
^ Drav/ing 




Yellow Block 


• Red Block 


Dark Green Block 















































- 19 


V. CUT-OUT ST3NCIL PRUNING 


, • s 

The stencil method is the oldest and simplest of all printing 
techniques* A person with a great deal of skill or no skill at all 
may use this method, although results will, of course, vary accord¬ 
ing to his skill. 


The Stencil Material . 

The Stencil ; Any heavy paper may he used‘for a stencil. It must 
not he as thick as cardboard or. so thin^ that it will easily crum¬ 
ple or crease. It should he the same- size as‘ the paper or card- 
hoard to he printed. 

The Orir?^inal Sketch : The design must he as simple, direct and dra¬ 
matic as possihlo. It must ho designed for flat coloring vdth a 
few exceptions as shown later. 

The Paint ; Any poster, jar or tube Watorcolors may he used both 
for designing ?md printing. 

The Stencil Knife. ; A regular stencil knife that looks like a wooden 
pen fUnd ponpoint is best, hut a small sharpened penknife or single 
edge razor blade may he used. 

The Stencil Brush ; An old shaving'hnish is best, hut any large 
brush with bristles that are'not too'stiff may he used. 


The Method 


Two pieces of straight wood, one Inng, 
one short, are nailed at right angles toward 
one corner of a smooth, .flat, heavy paste¬ 
board or old drawing hoard. This hoard 
should he somov/hat larger' than the'pap'er to 
he printed. 



Make a careful pencil tracing of the first 
color to he printed ^d transfer'tracing tot* 
the uncut stencil paper in correct position. 
Position may he determined from the original 
by marking off two corners on the tracing. 












- 20 ^ 


/ 


STENCIL PRINTING IN POUR COLORS 
Chronological Steps 







Original Drawing-. •• 1. , Light Red 



5. Red plus Grey plus Black 


6. Light Blue 


7. Pall Color Print 























































I 


21 


4 


Now cut the stencil opening with the knife. A piece of smooth 
cardboard under the stencil will help ^ve support for a clean cut. 

The drawing should he designed so that there are no ’’islands” 
or weal-: ’’peninsulasin the stencil. 



Center of ’’A” is an is¬ 


land, It has no -support 
whatever. It ’’floats.” 



These two parts 
of stencil are 
’’peninsulas” and 
do not have enough 
support. 


If lettering is used, it is often possible to use a-specially 

designed ’’stencil” letter, wherein all-’’islands” and ’’ueninsulas” 

* • ♦ , * • ^ 

are ’’tied” to'stencil, thus: ! 





Another method is. to use tv;o sepoxate stencils for the same 
letter, thus': 




1 


2 


Combination 


















































































































- 22 - 


The same system may he applied for designs other than lettering 
with very satisfactory results. 

Color Mixing and Printing 

When the stencils are all cut, repair if necessary with little 
pieces of gummed tape so that there are no weai:, overcut or torn 
pieces. G-ive stencil a ‘thoroj^gh coating of shellac or varnish on 
both sides and allow to’dry. If varnish is used, let dry overnight. 
This is to prevent the stencil from curling when watercolor is ap¬ 
plied, as well as to malce it tou^ and washable. / ^ • 

Mix watercolor until desired shade is obtained for first color. 
Thin sli^tly with more water. Take a daub of this color with tip 
of brush and work well into body of brush on a clean saucer. The 
brush should seem fairly dry. . 

Stack the cardboard or paper to be printed on the drawing board 
and press neatly against the wooden guides to the side. Lay stencil 
on top and place also against guides. 



Hold stencil firmly against stack with fingers and apply paint 
with light motions, straight or circular, through stencil openings. 
Pick up stencil. Pull out printed paper and proceed with the paper 
underneath and so on until ‘your stack or edition is finished. 

Mix color for your second stencil and apply with stencil #2. 

There are a nui.iber of wa^vs to get graduations within the same 
stencil opening.' The easiest way is to work the brush dry and = 
stipple a tone from' dark to light. 

















Those are luerel^r a few siuple aevices for making; and repro¬ 
ducing^ posters. Undoubtedly raany artists and craftsmen know of 
different methods and have techniques all their own. These they 
should, of course, use and develop and perhaps combine with some 
of those described here. The su#;qestions in this pamphlet are 
in no sense do^aatic, but are merely intended as assistance and 
stimulation. 


N 





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